notes, reviews and photographs about current design, design shops, cafes and restaurants and exhibitions and galleries in Copenhagen
news, notes, photographs and thoughts about design, architecture, planning and townscape and exhibitions in Copenhagen
An installation of works by Gitte Svendsen with heavily-tufted material and fringes in strong colours that are combined with panels of plexiglass, wood, metal and print.
MINDMAP #66
DANSKE KUNSTHÅNDVÆRKERE & DESIGNERE
(Association of Danish Craftsmen & Designers)
Officinet, Bredgade 66, 1260 Copenhagen K
28 October 2023 - 11 November 2023
Next week … on Thursday, Friday and Saturday, the 10th, 11th and 12th August … the annual craft market will be on Frue Plads with works from more than a hundred professional designers and makers who are members of Danske Kunsthåndværkere & Designere … the Danish association of artisans and designers.
Frue Plads is the square alongside Vor Frue Kirke - the square alongside the cathedral in Copenhagen.
Today was the first of the three days of the craft and design market on Frue Plads in Copenhagen …. the square on the north side of the cathedral.
It is an annual event of K&D … Danske Kunsthåndværkere & Designere … the association of art crafts makers and designers. This year there are 110 artists and designers showing their work. All are members of the association.
Dansk Kunsthåndværkere & Designere Markerd 2022
exhibitors for 2022 with background information and links
Thursday 11 August, 12 - 19
Friday 12 August, 10 - 19
Saturday 13 August, 10 - 16
Into the Woods is an installation by the Danish textilformgiver (textile designer) Lene Thomasen at Officinet - the gallery of Danske Kunsthåndværkere & Designere - the Danish Association of Artisans and Designers.
Created over the last year and created specifically for this exhibition, the works were inspired by trees, leaves, moss and, perhaps above all, the layering of light and form and colour found in the natural setting of woodland.
Lene Thomasen is a textile designer who trained at Kolding and now works primarily with screen printing. Works shown here are printed on silk, linen, or cotton and on very fine wool and she uses sheer fabrics and textiles that are layered and draped to create depth and a sense of space with weaving, sewing and gathering, where different materials are combined, for an intriguing and strong sense of volume.
In some works Lene Thomasen applies resist techniques - ways to block the dye reaching the fabric and often used to create texture - for instance by using a temporary coat of wax that is removed after the fabric has colour applied with a squeegee.
Patterns are overlaid or shifted or slightly offset and different intensity of dye are used, again to create a sense of depth, so, for example, to create an interpretation of the dappled light through layers of leaves and branches in the canopy in the woods.
Generally, there can be a temptation to see textile printing as simply a form of graphic design, so flat, but here, with the textiles displayed on wood frames, Lene Thomasen shows that textiles can have a strong presence in three dimensions as the works have to be explored from all angles as you walk around the gallery space.
Into the Woods continues at Officinet until 5 June 2022
Officinet, Danske Kunsthåndværkere & Designere, Bredgade 66, 1260 København K
note:
As for many of the artists and designers working towards a major exhibitions at Officinet, Lene Thomasen was able to spend several months at Statens Værksteder for Kunst in Copenhagen.
It is an amazing resource, in an old warehouse - Pakhus at Gammel Dok in the centre of the historic city - where designers and artists, with a scholarship or attachment, can use extensive facilities there that they may not have access to in their own studio or maybe not with the space to work at scale. The workshops also provide an environment for the intense focus and the long hours required for a complicated or demanding project.
The online site for the workshops has pen portraits of artists and projects that include photographs of their work in progress and that gives, at least, an impression of the level of technical skill and the mastery of materials that is at the core of the work of formgivers and crucial to the development or evolution of their work.
Lene Thomasen at Statens Værksteder for Kunst
Statens Værksteder for Kunst
Until Sunday 10th April, Thea Dam Søby is showing her textiles and demonstrating sewing and repair techniques at the Danish flagship store of MUJI on the 4th floor of the Illum department store in Østergade in Copenhagen. Given how much she has been inspired by Japanese techniques for working with textiles it has been an appropriate venue.
Many of the works shown - both clothing and high-quality household textiles - have been given a second life by using various techniques of tie dye and resist die and by beautiful repairs that become part of the story of the piece.
Thea has demonstrated some of the sewing and patching methods for classes held in the store and for that work she sells amazing Japanese needles - the best in the world - and kits with sewing needles and thread.
We talked about this for some time. My mother and both my grandmothers sewed and knitted. They made curtains - not out of necessity but to get exactly what they wanted - and both grandmothers repaired and darned. All three - my mother and both grandmothers - had drawers or boxes or large bags full of thread and offcuts of material and buttons and patches. Anything and everything was kept in case it could be useful because that was what most women of their age did.
Now, Thea cannot assume that women who come to her classes have needles at home or even a grasp of basic skills.
On Thea's Instagram site there are photographs of a re-dyed white-denim jacket she produced for a fashion journalist ... and I then realised that I had completely forgotten that there was a period when people wore white or faded denim .... jacket, trousers and shirts ... the whole works.
I'm not convinced that I could get away with wearing one of Thea's kimono-style jackets but the household textiles are amazing. The strong colours - mostly deep blue but also some mauve - are striking and where they are applied to antique linens the textures and the patterns of the weaving are incredible and they have a feel and a quality that is rarely matched by modern textiles.
Maker’s Dimensions shows final projects by fifteen students who graduated this summer from the Royal Academy Crafts schools for glass and ceramics on the island of Bornholm.
Studying at the academy, gives students time, facilities and support to not only develop their technical skills but also an opportunity to experiment - to take ideas in new directions or to find a balance between technical methods and the intrinsic or potential qualities of the materials they are working with - and time to discover and develop a distinct and appropriate personal style.
What can be seen here are the works of young designer-makers who are exploring colour and texture, experimenting with pure forms or using pattern and repetition and testing the qualities of and potential limits of glass and clay.
Works in the exhibition are by:
Annamaria Margareth Hartvig-Clausen, Armel Desrues, Clara Rudbeck Toksvig, Hanna Torvik, In Kyong Lee, Jasmin Franko, Josephine Alberthe Molter, Laura Godsk Vestergaard, Maren Gammelgaard Aaserud, Maria Kildahl Mathiasen, Nathalie Cohn, Sara Vinderslev Mirkhani, Signe Boisen, Thea Dejligbjerg Djurhuus, and Tiphanie Germaneau
Maker's Dimension
26 November 2021 to 9 January 2022
Bygning A, Kløvermarksvej 70,
2300 København S
Det Kongelige Akademi på Bornholm
– Crafts in Glass and Ceramics
update:
Bygning A had to close on 19 December - because of legislation for the control of Coronavirus-19 - but they will reopen on Sunday 16 January 2022 and Maker’s Dimensions will now continue through to 30 January 2022
I didn’t get out to Cable Park until the very end of the third day of 3daysofdesign. That was not deliberate apart from the fact that I was trying to take a logical route from place to place to avoid doubling back or making long jumps across the city but there could not have been a better way of ending what was, by then, beginning to feel like a marathon run.
By a very long way, this was the most relaxed show of them all and - out on the edge of the sound - the light coming off the water was amazing.
The venue was the studio of the designer, illustrator and ‘paper poet’ Helle Vibeke Jensen and the works, by craftsmen and designers, were shown on the board walks and the hung on the walls of the wooden sheds and outbuildings of the water sports centre and were even shown wrapped around or draped over wakeboards.
Kids in wet suits were not phased and this showed an important aspect of Danish design …. here good design and an interest in art can be just a part of everyday life.
This is the second outing of COME AGAIN, and as with the exhibition at the Offcinet - the gallery of Danske Kunsthåndværker & Designere in Bredgade - this was curated by the jeweller Helen Clara Hemsley and Helle Vibeke Jensen.
Helle Vibeke Jensen
Helen Clara Hemsley
Copenhagen Cable Park
Kraftværksvej 24, 2300 København S
Exhibitors:
Helen Clara Hemsley, Janne K. Hansen and Mette Saabye with George William Bell, Katrine Borup, Rasmus Fenhann, Line Frank, Helle Vibeke Jensen, Lise Bjerre Schmidt, Lotte Myrthue, Martine Myrup, Anne Fabricius Møller, Annelie Grimwade Olofsson, Camilla Prasch and Tina Ratzer.
This is an exhibition to mark twenty years of CLAYDIES …... the working partnership of the potters Tine Broksø and Karen Kjældgård-Larsen.
It's a brilliant show with all the humour and the self parody you would expect from CLAYDIES …. where else would you be encouraged to have your photograph taken behind a ceramic string vest or apparently 'wearing' a swishing pleated skirt or with your head stuck through a large ceramic collar?
Behind the fun, of course, is their very real understanding of ceramic techniques and their very real skill. For a start, some of these pots are huge and must have been a headache to fire and there is the use of a wide range of glazes that are exploited for different strong colours and different effects. You can’t get away with taking a gentle dig at your craft unless you have mastered it.
The two large ceramic collars are hung at the right height for sticking your face through for a portrait. One has grey/blue glaze reminiscent of tin-glazed earthenware - white ceramics with thin painted lines and simple decoration in blue that were presumably the early precursors of Copenhagen Royal pottery - and the other, with a lattice of basket work, in the style of what was called cream ware or in England Queen's Ware in the 18th century. Remember, Karen Kjældgård-Larsen has designed for Royal Copenhagen where she took a fresh look at their traditional blue and white patterns and then came up with a giant and fragmented version of the decoration to bring the china to the attention of new and younger buyers.
There are elements here in the exhibition of the cartoon … so about making something exaggerated or slightly absurd to make us look in a new way at aspects of ceramics that are too often just taken for granted. Of course it's obvious that the spout of a teapot points upwards but how and when and why did the form of a teapot become so firmly established? Are certain forms of tableware like they are just because that's a sort of ultimate and definitive shape or size or is it simply because that's what we, the customer, have come to expect and anything else, anything unconventional, would be difficult to sell?
I was going to make a joke about brewing tea and brewer’s droop but then I’ve been told by several Danish friends that Danes think puns are a particularly odd and not very clever form of British humour. So, maybe it’s enough to say here, that some of the pieces are poking gentle fun at some of these lazy conventions.
There is also an interesting attempt to break down the border between mass culture and 'high culture' where an object in a museum is to be revered in part because it is in a museum. One of the pieces is a ceramic T shirt with blue sleeves that has the obligatory logo on the breast but here the CLAYDIES ceramic mark. You can’t get much more mass culture than a T shirt with a logo.
And also, of course, above all, this is a brilliant but gentle dig at the obsession with selfies. It’s a bit like that old fairground or end-of-the-pier seaside attraction where your photo was taken by a street photographer but with your face stuck through a hole in a picture of a very very large lady wearing a striped bathing costume standing next to a scrawny little husband so your face replaces hers. Here there is a patterned knitted jumper but made in clay to stand behind or a pottery bobble hat.
Having said all that, the exhibition here is slightly restrained for CLAYDIES. In 2013, for their show called This is Not a Joke, they produced ceramic eyeballs to be left in bowls of soup and whoopee cushions; an unpleasantly realistic piece with the title SHIT; joke teeth; a delicate and refined tea cup but when tipped up to the mouth it had what looked like a pigs snout painted on the bottom and a scarf called BOOBS. Follow the link to see why all this is difficult to describe.
With these big bold ceramics set against big bold strong colours, this exhibition is where pot art meets pop art.
claydiesselfies continues at Officinet until 28 March 2020
Danske Kunsthåndværkere & Designere
This is the last opportunity to see Porcelain Plus at Officinet - the gallery of Danske Kunsthåndværkere og Designere in Bredgade in Copenhagen - as the exhibition closes tomorrow 29 February 2020.
Porcelain Plus has been curated by Bettina Køppe of the gallery Køppe Contemporary Objects in Nexø on Bornholm.
Here are shown works by three major Scandinavian ceramic artists with all three working in porcelain and all three artists use slip pouring or casting.
All three show how their works have evolved as they explore specific ideas or a number of themes but also, through the development of their skills and their specific techniques, they explore the qualities of their chosen material to discover what is possible and what is not possible as they exploit what is essential about the qualities of porcelain.
But here, with the current works of the three artists, their pieces could hardly be more different.
Porcelain Plus at Officinet -
the gallery of Danske Kunsthåndværkere og Designere
in Bredgade in Copenhagen -
opened on 7 February 2020 and continues until 29 February.
Officinet, Danske Kunsthåndvækere & Designere
Køppe Contemporary Objects
Mia Göransson
Still Life, 2017
Bodil Manz
Dessau ll, 2019
Irene Nordli
Opløst Venus, 2020
The annual craft market in Grønnegården - the great central courtyard at the design museum - this weekend and next - 70 makers selling their work with ceramicists, textile designers, glass makers.
Free entry to the courtyard and the market.
Designmuseum Danmark opening times
Friday and Saturday 29 and 30 November and Sunday 1 December
Friday, Saturday and Sunday 6, 7 and 8 December
stoneware from Tybo Art & Craft
8 November 2019 - 3 May 2020
The annual Cabinetmakers' Autumn exhibition has just opened at BLOX in the Golden Gallery of the Danish Architecture Centre.
There are thirty-five works by cabinetmakers, some who have both designed and made the furniture but most are a collaboration between cabinetmakers and designers or architects working together. Each year the furniture reflects a theme and this year the focus is on climate change and sustainability so there are experiments with new materials; designs that reassess how established materials are used and could be re-used and there are designs that focus on reworking ideas to make them relevant to the way we have to live now and how we may live in the near future.
These works are about makers understanding their chosen material to explore ideas and explore limits and potential but also about producing beautiful and simple furniture of the very highest quality. After all, for most people the easiest form of sustainability is to buy something we need but that then we don't want to throw away.
The furniture is shown on a framework of scaffolding that can itself be reused after the exhibition is dismantled.
review to follow
Snedkernes Efterårsudstilling
Danish Architecture Center
designed by Monique Engelund and Mathilde Witt Mølholm
produced by Anton Balle A/S
designed by Jonas Herman Pedersen
produced by Holstebro Kartonnage
designed by Cecilie Manz
produced by TAKT
For three days at the end of the week, the annual craft market will be on Frue Plads - the square next to the cathedral in Copenhagen.
Organised by Danske Kunsthåndværkere & Designere - The Danish Association of Craft Workers and Designers - this is an opportunity to see and to buy some of the very best ceramics, glass and textiles made in Denmark.
Thursday 8 August 12 - 19
Friday 9 August 10 - 19
Saturday 10 August 10 - 16
Kontempo, an association of textile designers in the Nordic region, was founded in 2015. With a board of eight textile and furniture designers who meet once a month, they are "working to raise awareness about contemporary textile work and practices."
Is This ….? …. is a series of exhibitions by Kontempo with Is This Colour? being the third following Is This Textile? in 2016 and Is This Knit? in 2017.
Here, twenty four works are shown that, using many different materials and styles, explore aspects of colour. The Gallery is in the Trinitas Church, the parish church for students, in an upper level that housed the university library, and access is via the brick spiral ramp in the tower. With windows on both sides - with views over the city - there is amazing natural light through the space and that is exploited in the exhibition so that what is clear, immediately, is that surface, texture and shadow all have a crucial role in how we perceive colours.
KONTEMPO
the exhibitions continues at Rundetaarn / The Round Tower until 23 June 2019
the framework
ide Blichfeld
NCS S 1080 Y20R
Kitt Dusnia
compleat
Charlotte Østergaard
colour lab
Louise Sass
duotone
Eva Fly
translucent faces
Henning Larsen
uden stråforkter / no straw shortener - are two works by the designer and visual artist Christina Christensen. One work is with rye from fields near Odder, and the other with reeds from Kysing Beach, and both with cotton, linen and brass.
Through their work, many of the artists who exhibited at the biennale communicate complex ideas or raise important issues about our lives … both in our immediate communities but also, more generally, about how we respond to and how we do or how we should appreciate and respect our broader natural environment.
These woven panels raise interesting issues about both how we see and use natural materials and about the impact on nature of human intervention.
Over recent decades research by plant breeders has lead to the development short-stemmed grain crops - to reduce damage from wind or rain, and to increases yields - but, as a consequence, secondary uses for the product from taller varieties are lost.
Until the second half of the 20th century, corn was not simply harvested for the nutritional value of the seed but the long stalks were a sustainable raw material.
Straw (and in many areas reed) was used for thatch where stone slates or fired clay tiles were not available locally or were too expensive for ordinary buildings.
Now, we worry about air miles or about the cost and effect of shipping food, fashion clothing and goods round the globe but I'm curious to know how many people think about where the materials for the construction of their home come from and the environmental impact of those materials at the source, at the factory, and from the transport of the materials.
Generally, in the past - so before the twentieth century - transport of building materials was difficult and expensive. If you were wealthy then you could buy a fashionable fireplace or elaborate panelling from the nearest city or import an exotic wood like mahogany for a staircase to be made by a local craftsman, but for ordinary people, building an ordinary house, materials, generally, came from the local area - often from no more than five miles away - unless you were by the coast or on a river, or, from the 19th century, by a canal or then a railway, when transport costs were less prohibitive.
So, it is fantastic to see the architect Dorte Mandrup using thatch for not only the roof but also for the external cladding of the walls for the new Wadden Sea interpretation centre at Ribe on the west coast of Jutland.
But straw and reed were not just used for building but were also used to make mats or to make furniture - in areas, where good timber was not available - and for making household goods and toys - but how many people now have things in their homes made from straw or reed?
I had a set of table mats that lasted for nearly 20 years before they finally disintegrated and I have a few traditional Dutch Christmas decorations - small birds and stars - that are woven in straw, and every year, for more than 30 years, they come out of the cupboard to be hung on the tree … good and sustainable examples of rural crafts that have much more meaning than tinsel and baubles.
For more than 20 years I measured and recorded and assessed historic buildings of all periods and a good number were thatched. My job was to measure, record and date the timber-work of the roof structure but I have to admit that I rarely thought about the thatch … more than just to note the material and any pattern on the ridge or eaves that reflected the traditions of that area.
Looking at the work by Christina Christensen, reminded me when I first thought about long straw. I had been asked by BBC radio to collaborate on a programme about a thatched building in Oxfordshire and was there to talk about the date of the roof timbers - the form and techniques of construction suggested it dated from the 14th century and that had been confirmed by dendrochronology - but the main contribution to the programme was from a plant archaeologist.
What was so important about that particular roof was that it had never been stripped back for the thatch to be replaced completely. For over 600 years it had simply been patched and repaired with new layers over the old core of straw thatch. Not just exposed roof timbers but also the underside of the thatch itself were blackened with soot from the original open hearth that had been at the centre of the house until the 16th century when a new fireplace with a closed-in chimney was built.
From within the roof space, huddled in cramped space above modern ceilings, with me and the radio interviewer, the archaeologist drew out straws that were not far off 2 metres long and some still had their seed heads. From these he was able to identify the specific types of corn grown in the area in the middle ages - types of corn that were often specific to a relatively small area and certainly no longer grown - and identifying them was important for understanding medieval farming but also important for studies on bio diversity.
This work by Kristine Mandsberg has prominent labels that read "please touch".
Play and, through play, early learning is one of the first stages where a child not only begins to explore and understand the physical world but also begins to build bonds with parents, siblings and a growing circle of friends.
Copenhagen has remarkable playgrounds with a huge range of equipment to test agility, to stimulate the imagination of children and to encourage play and the production of toys and furniture for children has been important in the works of many designers.
Kristine Mandsberg trained as a textile designer in Kolding and once you know that then the structural form of Three of a Kind, with warp and weft, becomes intriguing.
She also describes herself as an illustrator and the bold simple shapes here and her use of strong, bold colours has to come from a graphic sensibility.
But it was not just children who spent time twisting and turning and resetting these pieces. It was interesting to watch adults set and re set the pieces … perhaps not to find the inner child but seemed to reflect, at least, the way humans are curious about complex and adaptable structures.
These works have an element of mechanics about them … reminiscent of old wood football rattles that are never seen at matches now.
This evening, the prestigious Biennaleprisen from Danske Kunsthåndværkere & Designere - the Biennale Prize from the Danish Association of Craft and Design - was awarded to Katrine Borup, Pernille Mouritzen and Bess Kristoffersen for their work Revl og Krat / Wheat and Chaff … an installation that is a curated collection of natural objects - including soil, branches, bark moss and grass - with crafted objects, photographs and notes.
It is a collaborative project by artists who work in the woodland around Dyrehavehuset / Deer Park House - a historic timber-framed lodge that is close to Tystrup Lake - 70 kilometers south west of Copenhagen - and was part of the extensive estates of the historic house at Gunderslevholm.
In the catalogue, the artists acknowledge the influence on their work of the American academic, author and teacher Donna Haraway and cite her recent book Staying with the Trouble.
This is about connections and stories; about art, science and political activism and about trying to understand our environment and about showing respect for nature.
Dyrehavehuset, Rejnstrupvej 5, Fuglebjerg - has been restored and is now the studio of Bess Kristoffersen.
The web site for Deer Park House has a specific page to illustrate some of the workshop sessions and the works produced at the studio for Revl og Krat.
bessktistoffersen.dk
pernillemouritzen.dk
katrineborup.dk
dyrehavehuset.dk
Naturen Vinder Biennaleprisen 2019
Pernille Stockmarr, curator, Designmuseum Danmark
Peder Rasmussen, ceramicist
Christina Zetterlund, lecturer and curator Linnéuniversitet
the exhibition with all eighteen works selected continues until 5 May 2019 at
Nordatlantens Brygge, Strandgade 91, København K
I am curious about the translation of the title of the work.
In dictionaries revl is generally translated into English as batten or possibly lath (plausible as this is a woodland lodge) and krat as a thicket so presumably the saying implies something useful coming from something that might be dismissed or might be seen to be useless … in terms of potential materials, the tangled branches of a thicket are less useful than a carefully nurtured tree from managed woodland.
This has been translated in the catalogue as Wheat and Chaff … where wheat is the grain or seed that you keep and use for food or for planting for the next crop while the chaff is the husks that are discarded after the crop is winnowed.
Is the implication therefore that if you appreciate the chaff then you can use everything?
The forward for the catalogue has been written by Hans Christian Asmussen - designer and lecturer in design and on the board of Danske Kunsthåndværkere & Designere / the Danish Association of Craft and Design.
He discusses the growing importance of our sense of community and the eighteen projects chosen for the Biennale consider, in one way or another, our "notion of community - some with a critical voice, some in a playful tone, some tenderly, but all striving to explore the value that community offers."
This is about how artists, through their work, explore complex ideas, express what they feel and give the viewer reasons to think and reconsider by emphasising or challenging a view point or simply by shining a light on aspects of our lives that possibly we need to reconsider.
There is a longer essay on Community by the design historian and design theorist Pernille Stockmarr. She makes the crucial observation that with the frequent use of terms such as 'sharing economy', 'co-creation', ‘co-design', 'crowdsourcing', and 'crowdfunding', the concepts of community and cooperation have a strong and important relevance.
Historically, the concept of community is strong in Denmark with a well-established welfare state; a strong sense of family and friendship; a strong and ongoing role for the co-operative movement in retailing for food and household design and a strong volunteer movement through various sports and hobby associations.
In part, political change outside Denmark and the growing pressure to resolve threats to our environment has lead many to question what motivates us and those uncertainties make us reconsider our priorities and help us decide how we can move forward as local or wider communities.
The exhibition for the prestigious Danish award for the crafts - the Biennalen for Kunsthåndværk & Design - opened today at Nordatlantens Brygge / North Atlantic House in Copenhagen and continues until 5 May 2019.
Artists and designers selected to exhibit this year are:
Anett Biliczki
Helle Vibeke Jensen og Mette Saabye
Mariko Wada
Mia Lagerman
Signe Fensholt
Margrethe Odgaard
Ole Jensen
Kristine Mandsberg
Christina Christensen
Katrine Bidstrup
Kunstnergruppen RØRT: Ædelmetalformgiver og sygeplejerske Kristina Villadsen, Ædelmetalformgiver og arkitekt Maja Røhl, Ædelmetalformgiver og cand.comm. Maria Tsoskunoglu, Ædelmetalformgiver og grafiker Nanna Obel
Katrine Borup, Pernille Mouritzen og Bess Kristoffersen
Sarah Winther
Sarah Oakman og Maj-Britt Zelmer Olsen
Bitten Hegelund og Uffe Black
Bodil Manz og Jacob Manz
Charlotte Østergaard
Sisse Lee
A major exhibition of work by the artist, designer and ceramicist Axel Salto (1889 - 1961) opened in February at Øregaard Museum in Hellerup - just along the coast to the north of the city.
Salto studied painting at the Royal Academy and graduated in 1914.
By 1916 he was living in Paris where he met Picasso and Henri Matisse and on returning to Denmark he produced, edited and wrote for a short-lived but influential journal Klingen / The Blade that was published between 1917 and 1919.
He was a member of the Grønningen group of artists and one of The Four with Svend Johansen, Vilhelm Lundstrom and Karl Larsen who exhibited together between 1920 and 1929.
In the 1920s he began to design ceramics and his stoneware pieces were produced in the workshops of Carl Haller at Saxbo keramik in Frederiksberg and he also produced designs for porcelain by Bing & Grondahl with his work shown at the Paris exhibition in 1925.
This exhibition shows a full range of his ceramic works from small stoneware bowls with incised decoration or bold moulding with Japanese-style glazes to large-scale works with scenes from Classical mythology or stylised nature.
Paintings and strong and very confident ink and line-work drawings, including designs for the ceramics, show clearly the style Salto developed from his training as a painter.
He also worked with the book binder August Sandgren and a selection of designs for end papers are shown in an upper gallery which have a distinct feel of the 1930s with deep colours and stylised and small repeat patterns.
the exhibition continues at Øregaard Museum until 23 June 2019
An exhibition at Officinet - the gallery in Copenhagen of Danske Kunsthåndværkere & Designere - to show the works of the Danish artist Torgny Wilcke and the English artist Simon Callery.
Both artists have used the colour yellow for a common element and both use what are essentially functional every-day materials - for Callery heavy canvas and Torgny Wilcke timber and corrugated metal strip for roof covering.
Both work on a large scale with a strong presence in the space and both hint at potential practical uses for their works … the wall pieces by Simon Callery reference storage and the large floor pieces by Torgny Wilcke have been used for seating so they are challenging boundaries between art, craft and design.
Both use proportions to bring order and to assume control of the space in the gallery.
the exhibition continues at Officinet until 24 March 2019
Bredgade 66, Copenhagen
Danske Kunsthåndværkere & Designere /
Danish Association of Craft and Design
Torgny Wilcke
explore copenhagen design news by category …..
.... and longer articles about architecture and design are posted on danish design review
Powered by Squarespace
